Annie Potts

Annie Potts' unique voice and quirky personality made her a natural fit for roles that called for colorful, experienced, definitely quirky women. Potts first burst onto the scene as the sassy, quick-w...
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Columbia Pictures via Everett Collection
"Who you gonna call?" If you had shouted that anywhere in the country during the summer of 1984, a multitude of voices would've screamed "Ghostbusters!" back at you.
The paranormal comedy starring Bill Murray, Dan Aykroyd and Harold Ramis and directed by Ivan Reitman was an immediate smash with its mix of broad humor and special effects hitting a home run with kids and their parents. You probably remember the giant Stay-Puft Marshmallow Man that nearly destroys New York, but here are some fun facts that you might not know.
When Aykroyd was originally writing his script for the movie he intended for John Belushi and Eddie Murphy to play Peter Venkman and Winston, the roles that eventually went to Murray and Ernie Hudson. Belushi died while he was still working on the script and the shooting schedule for Beverly Hills Cop forced Murphy to drop out.
John Candy was cast initially in the role of Louis, who becomes possessed by the Keymaster. Candy quit after Reitman wouldn't let him do the character his way, which included speaking with a German accent. He was replaced by Rick Moranis, who was Candy's longtime costar on SCTV.
It's all in the marketing. The initial advertising for the movie was simply posters with the "No Ghost" logo, followed by the Ghostbusters' car (Ecto-1) being driven around New York City without explanation.
After the movie opened, Reitman created a trailer out of the commercial in the film which gave a working 800 number. The number led to a message of Murray and Aykroyd saying that they were out catching ghosts. It reportedly received an average of 1,000 calls an hour every hour for six weeks.
Stay-Puft Marshmallows is not a real product, but in the movie there's a pack of them in Sigourney Weaver's apartment as well as a billboard on the side of a building advertising them.
Rietman was originally planning on doing a film version of Douglas Adams' The Hitchhikers Guide to the Galaxy. When the director and his producing partners contacted Aykroyd about being part of the project he instead pitched them his ghost movie.
The famous theme song by Ray Parker Jr. was number one on the Billboard charts for three weeks. Parker has said in interviews that he was inspired to write the song as a jingle in line with the commercial in the film after he saw a TV spot for a local plumber while trying to overcome a bout of writer's block. Huey Lewis apparently disagreed with that version of events since he sued Parker claiming that the melody plagiarized his song "I Want a New Drug." The dispute was resolved by an out-of-court settlement.
On the DVD commentary, Rietman confirms that Aykroyd's original script was set in the future where there were teams of Ghostbusters all over the world, with sci-fi touches like the Ecto-1 flying, and would've been too expensive to shoot. Ramis, who co-wrote Animal House and Caddyshack, was brought in to tone down Aykroyd's vision.
Ramis originally wasn't going to act in the movie, even though he had previously starred with Murray in Reitman's Stripes. He joined the cast after he formed a close association with the character while writing the script.
Ramis' character Dr. Egon Spengler was named after German philosopher Oswald Spengler who wrote The Decline of the West, which argued that all civilizations eventually break down.
Paul Reubens (Pee-Wee Herman) was originally offered the role of Gozer the Destructor. After he declined, the role was reworked and went to Yugoslavian model Slavitza Jovan.
Michael Keaton was in discussions for both the Venkman and Louis roles but turned them both down. Chevy Chase was also considered for Venkman, while Jeff Goldblum and Christopher Walken were among those talked about as possible Egons. Comedian Sandra Bernhard was offered the role of the Ghostbusters secretary that eventually went to Annie Potts, while Michael McKean was one of the other actors considered to replace Candy in the Louis role.
A real jail was used for the scene where the Ghostbusters are locked up, and Aykroyd believed the location to actually be haunted.
The exterior for the Ghostbusters headquarters is the real Hook and Ladder No. 8 Firehouse in the famous Tribeca neighborhood of Lower Manhattan. The location was almost closed as part of the city's budget cuts in 2011, but was one of 19 firehouses saved in a restructured plan by then Mayor Michael Bloomberg.
The movie was the first to have veteran broadcaster Larry King appear as himself, while porn actor Ron Jeremy and pop songstress Debbie Gibson were both extras during the filming.
The scene where Weaver levitates was done in the same manner as a magician uses in a stage show. Reitman had worked with illusionist Doug Henning on the Broadway show Merlin and was familiar with how the trick was done.
Actor William Atherton, who plays the Ghostbusters' nemesis Walter Peck, has long claimed in interviews that for years after the movie was released he would have people yelling at him on the street for his treatment of Murray and company. He said that it even led to physical altercations in bars. Atherton went on to play sleazy reporter Richard Thornburg in Die Hard and Die Hard 2.
The ghost that wreaks havoc on the Sedgewick Hotel didn't have a name in the script. The model that was used on set was nicknamed "Onion Head" because of its smell and Aykroyd joked that it was the ghost of Belushi. Fans of the movie started calling it Slimer and the name stuck, eventually being used in the animated series that the movie spawned.
Unbeknownst to the producers, Filmation had made a short-lived animated series in 1975 called The Ghost Busters. Heading off a potential lawsuit, Columbia paid Filmation a fee for using the name.
Murray agreed to do the movie only if Columbia Pictures would provide the funding for a film version of the W. Somerset Maugham novel The Razor's Edge that he would star in. Murray's pet project was released later in 1984 and made $6.6-million at the box office. Ghostbusters grossed more than $238-million in the United States alone.
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Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
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In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
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It looks like ABC's pilot, Good Christian Bitches, has a pretty good chance of making it into the fall rotation. Now, they've rounded out their cast with familiar face and Broadway star, Kristen Chenoweth for the Darren Starr produced primetime soap.
Set in Dallas, the steamy drama will have Chenoweth as Darlene alongside Leslie Bibb as the protagonist, Amanda. Bibb's character is forced to move back to her hometown after a scandal destroys her marriage. She's since grown out of her catty high school ways, but it seems that her old classmates have kept it going and from the looks of things, they're going to giver her a whole lot of hell. ABC will make the final decision in May to keep or toss this pilot, but I think that this Desperate Housewives 2.0: Meaner and Bitchier show is probably going to be just fine.
The show has also nabbed Annie Potts (Men In Trees, Joan of Arcadia), Miriam Shor (Damages), and Marisol Nichols (24) to round out the gaggle of good Christian bitches.
Source: EW

Roman Polanski lost a great deal of time while incarcerated by the Swiss earlier this year, but he's not wasting any now that he's a free man. Vulture reports that he has resumed work on the adaptation of Yasmina Reza's award winning stage production God Of Carnage.
The play, which was translated by the wonderful wordsmith Christopher Hampton, centers on two pairs of parents whose children are involved in a fight in a public park and later meet to discuss the matter in a civilized manner. As the evening rolls along, tensions build and the parents become increasingly childish, resulting in the evening devolving into chaos. The original West End production starred Ralph Fiennes, Tamsin Greig, Janet McTeer and Ken Stott, while the first Broadway version cast Jeff Daniels, Hope Davis, James Gandolfini and Marcia Gay Harden as the feuding couples and took home three Tony's in 2009 (for Best Play, Best Direction and a Best Actress award for Harden).
Though the play is set in New York, Polanski will obviously film in Europe (where he can avoid more legal matters) and hopefully be able to attract the kind of household names that the stage version has. In a perfect world, the controversial filmmaker will be able to have Daniels/Davis/Gandolfini/Harden reprise their roles, giving the project a kick of star power and prestige that will rope in theater fans as well as movie buffs. There have been many other wonderful performers involved in the production, from Lucy Liu and Jimmy Smits to Dylan Baker and Annie Potts - any combination of likable actors could potentially make the film a hit. The real question is whether or not Polanski's public image will hurt the project...
Source: Vulture

Carter, who starred in the hit sitcom from 1986 until 1993, passed away on Saturday (10Apr10) aged 70 following a battle with cancer.
And Potts, her fellow castmember in Designing Women, is devastated by the loss of her pal - calling Carter a "treasure beyond reckoning".
She tells Entertainment Tonight, "Dixie Carter was a goddess. Beautiful and brainy, smart and funny, prim and sexy, wickedly talented and divinely sweet. The kind of wife and mother that every mother hopes their daughter will become, and the kind of friend that is absolutely irreplaceable. She loved fiercely and was adored in return. To have known her a little was a delight to all. To have known her well, a treasure beyond reckoning. And now, a loss beyond measure."

The actress will make her Broadway debut in God of Carnage on 2 March (10), joining Dylan Baker, Jeff Daniels and Janet McTeer, in the comedy about two couples who clash over a fight between their children.
Daniels was in the comedy's original cast, but will return to tackle a new role, according to the Associated Press.
The play's current castmembers, including Jimmy Smits and Annie Potts, will take their final bow on 28 February (10).

Hollywood.saw sharp declines across the board at the box office over the post-Thanksgiving weekend as moviegoing gave way to holiday shopping.
Buena Vista/Disney and Pixar's G-rated computer-animated blockbuster "Toy Story 2" held on to first place in its third weekend with a 50% drop that reflected how most films in the marketplace performed.
"Toy 2" snapped up a still hefty estimated $28.30 million (-50%) at 3,238 theaters (+2 theaters, $8,734 per theater). Its total is approximately $117.3 million, heading for a domestic theatrical total of $250 million-plus.
"Toy 2's" per-theater average was the highest for any film playing in wide release last weekend. Directed by John Lasseter, it features the voices of Tom Hanks, Tim Allen, Joan Cusack, Kelsey Grammer, Don Rickles, Jim Varney, Wallace Shawn, John Ratzenberger, Annie Potts, Wayne Knight, Laurie Metcalf, Estelle Harris and R. Lee Ermey. Its score and two new songs were composed by Grammy Award winner Randy Newman.
The original "Toy Story" grossed about $190 million in the United States and Canada in 1995. It did about $360 million in worldwide ticket sales and sold more than 22 million videocassettes in the United States alone. If "Toy 2" hits $200 million by Dec. 31, Buena Vista will become the only distributor ever to have two films reaching $200 million in the same calendar year. The studio's blockbuster "The Sixth Sense" crossed the $200 million mark in early September.
"It's down 50% from Thanksgiving weekend, and I do not consider that bad at all," a Buena Vista distribution executive said Sunday morning. "It took us 11 days to reach $100 million (on Saturday). It is the biggest weekend for the first week in December, (beating) the original 'Toy Story' with $20.2 million."
MGM's PG-13-rated "The World Is Not Enough," the 19th James Bond epic, held on to second place in its third weekend with a quieter estimated $10.60 million (-55%) at 3,163 theaters (theater count unchanged, $3,345 per theater). Its total is approximately $90.4 million, heading for $120 million in domestic theaters. Directed by Michael Apted, it stars Pierce Brosnan in his third performance as 007.
Universal and Beacon Pictures' R-rated action-fantasy adventure "End of Days" came in third again with a less lively estimated $9.71 million (-53%) at 2,599 theaters (+6 theaters, $3,735 per theater). Its total is approximately $45.9 million. Directed by Peter Hyams, it stars Arnold Schwarzenegger.
"We all knew this was going to be a tough weekend. This is traditionally not a great weekend at the box office, but look at the numbers -- they were again record-breaking," Universal Distribution President Nikki Rocco said Sunday morning. "People are going to the movies. The economy is good. They're out there doing things. They're doing their Christmas shopping. That's what happens in a good economy. You don't have to choose between entertaining yourself or buying Christmas presents. You do both."
The rise of Internet shopping may be a helpful factor, as well, according to Rocco: "People have more free time for entertainment. You spend an hour in the morning online (shopping on the Web), and you can still go out and go to the movies and relax. There's more time for recreation."
Paramount's R-rated period action adventure "Sleepy Hollow" continued in fourth place in its third weekend with a sleepier estimated $9 million (-51%) at 3,069 theaters (+2 theaters, $2,933 per theater). Its total is approximately $74.3 million, on its way to $100 million in domestic theaters. Directed by Tim Burton, it stars Johnny Depp and Christina Ricci and is based on Washington Irving's classic "The Legend of Sleepy Hollow."
"It's not unexpected," Paramount Distribution President Wayne Lewellen said Sunday morning, focusing on the post-Thanksgiving marketplace. "Obviously, you'd like for it to hold up better than it is. But it still gets us to a little over $100 million with the picture."
Universal's R-rated suspense thriller "The Bone Collector" rose one notch to return to the top five in its fifth weekend with a strong estimated $3.15 million (-43%) at 2,518 theaters (+18 theaters, $1,250 per theater). Its total is approximately $58.1 million. "Bone's" 43% drop was the lowest for any film in the top five. Directed by Phillip Noyce, it stars Denzel Washington and Angelina Jolie. Sony's Columbia Pictures unit is partnered 50-50 with Universal on "Bone's" worldwide film rentals. Sony is releasing the picture internationally.
"We've been very fortunate. Where 'Bone Collector' is playing, it's just lingering in the multiplexes," Rocco said Sunday morning. "It's back in the top five, and it's hanging on. The goal was always $65 million (in domestic theaters) with this picture. It's certainly getting to $65 million, and it probably will get to $70 million."
Rocco noted that "Bone's" success is even greater given its relatively low production cost of about $40 million.
Warner Bros.' G-rated Japanese animated feature "Pokemon: The First Movie" slipped one peg to sixth place in its fourth weekend with a soft estimated $2.21 million (-69%) at 3,043 theaters (theater count unchanged, $726 per theater). Its total is approximately $80.6 million, heading for a domestic theatrical gross in the low $90 millions.
Lions Gate's release of "Dogma," the controversial R-rated irreverent comedy it took over from Miramax, held on to seventh place in its third weekend with an OK estimated $2.15 million (-37%) at 1,292 theaters (theater count unchanged, $1,664 per theater). Its total is approximately $24.5 million. Directed by Kevin Smith, it stars Ben Affleck, Matt Damon, Linda Fiorentino, Salma Hayek, Jason Lee, Jason Mewes, Alan Rickman and Chris Rock.
Buena Vista/Touchstone's critically acclaimed R-rated drama "The Insider" rose one rung in its fifth weekend to eighth place with a quiet estimated $1.40 million (-45%) at 1,483 theaters (-189 theaters, $912 per theater). Its total is approximately $23.9 million. Directed by Michael Mann, it stars Al Pacino and Russell Crowe.
USA Films' R-rated comedy "Being John Malkovich" added theaters and jumped one slot to ninth place in its sixth weekend with an encouraging estimated $1.39 million (-33%) at 624 theaters (+35 theaters, $2,224 per theater). Its total is approximately $13.9 million. Directed by Spike Jonze, it stars John Malkovich, playing himself, John Cusack, Cameron Diaz and Catherine Keener.
"It's amazing," USA Films distribution head Jack Foley said Sunday morning. "We probably had the smallest drop among all the films out there from last weekend. At this level (of theaters), it puts you out there so you're going to feel the effects of the marketplace on you. We've held well. I think last weekend more people discovered the picture. And even in these shopping days, we're beginning to benefit (from word of mouth). This is a delight.
"Now as the (year-end critics) lists come in, hopefully, it will keep it buoyed up in everybody's mind. It is defying gravity. You know it's a great film, but to say (such an unusual) picture could have penetrated the markets of America this way and get this response is amazing."
Rounding out the Top 10 was 20th Century Fox's PG-13-rated mother-daughter drama "Anywhere But Here," down two notches in its fourth weekend with a calm estimated $1.30 million (-54%) at 1,628 theaters (-58 theaters, $799 per theater). Its total is approximately $16.4 million. The film is directed by Wayne Wang and stars Susan Sarandon and Natalie Portman.
OTHER OPENINGS Weekend 49 also saw the arrival of 20th Century Fox and Lucasfilms Ltd.'s reissue of "Star Wars: Episode One -- The Phantom Menace" for a one-week charity run, placing 11th with a down-to-earth estimated $1.18 million at 832 theaters ($1,412 per theater). Its total s approximately $429 million.
Columbia's R-rated romantic drama "The End of the Affair" kicked off at 7 theaters, placing 23rd with an engaging estimated $0.20 million ($29,000 per theater). Directed by Neil Jordan, it stars Ralph Fiennes, Julianne Moore and Stephen Rea.
Sony Classics' PG-13 dark comedy "Sweet and Lowdown" opened exclusively in New York at 3 theaters, placing 24th with a strong estimated $0.10 million ($33,333 per theater). Sony Classics does not have its grosses tracked and released to the industry, but distribution insiders said they were hearing that the film did about $100,000. Directed by Woody Allen, it stars Sean Penn and Uma Thurman. Allen's films typically perform best in New York.
TriStar's R-rated youth appeal "Virtual Sexuality" kicked off at 101 theaters, placing 27th with a soft estimated $0.045 million ($450 per theater). Directed by Nick Hurran, it stars Laura Fraser and Rupert Penry.
Miramax's R-rated dark comedy "Holy Smoke" opened an Oscar qualifying run at 2 theaters, placing 28th with a promising estimated $0.032 million ($16,000 per theater). Directed by Jane Campion, it stars Kate Winslet and Harvey Keitel.
"'Holy Smoke!'s' a pretty good start," Miramax's senior vice president, marketing, said Sunday morning. "It's always tricky when you do a one-week qualifying run (for Oscars) because the second week will tell you so much more. But it's pretty good, actually. There were a lot of Academy qualifier (runs this weekend), and we were leading that pack. Jan. 14 we reopen in the top 40 markets on about 100 screens."
Avalanche Releasing's romantic comedy "Spanish Fly" opened in 30th place to a dreary estimated $0.011 million at 7 theaters ($1,570 per theater). Written and directed by Daphna Kastner, it stars Kastner and Toni Canto.
USA Films' R-rated comedy-drama "Agnes Browne," directed by and starring Anjelica Huston, opened an Oscar qualifying run at 2 theaters, placing 31st with an unexciting estimated $0.006 million ($2,929 per theater). The film will open in March, USA Films' Foley said Sunday morning.
Also opening was First Look Entertainment's drama "A Map of the World" in L.A. and New York for a weeklong Academy Awards-qualifying run. No estimates were available since First Look does not have its grosses tracked and released to the industry. Directed by Scott Elliott, it stars Sigourney Weaver and Julianne Moore.
SNEAK PREVIEWS Weekend 49 saw no national sneak previews. EXPANSIONS On the expansion front, Weekend 49 saw Miramax's PG-13-rated comedy "Mansfield Park" widen slightly in its third weekend, placing 22nd with a promising estimated $0.23 million (-33%) at 32 theaters (+2 theaters, $7,031 per theater). Its total is approximately $0.85 million. Directed by Patricia Rozema, it stars Embeth Davidtz, Jonny Lee Miller, Alessandro Nivola, Frances O'Connor and Harold Pinter. USA Films' R-rated Civil War action-drama "Ride With The Devil" added theaters in its second weekend, placing 26th place with a slow estimated $0.053 million at 15 theaters (+4 theaters, $3,554 per theater). Its total is approximately $0.17 million. Directed by Ang Lee, it stars Tobey Maguire, Skeet Ulrich and pop singer Jewel. WEEKEND COMPARISONS Weekend 49's key films, those grossing more than $500,000 for the weekend, took in approximately $75.31 million, up approximately 10.66% from $68.05 million for the comparable weekend last year. Weekend 49's key film gross was down approximately 50.86% from the $153.26 million that key films took in during the Friday-Sunday portion of this year's five-day Weekend 48. Last year, Buena Vista/Disney's second weekend of "A Bug's Life" was first with $17.17 million at 2,701 theaters ($6,358 per theater), and Universal's opening weekend of "Psycho" was second with $10.03 million at 2,477 theaters ($4,050 per theater). The top two films one year ago grossed $27.2 million. This year, the top two films grossed an estimated $38.9 million. For the first 49 weekends of 1999, ticket sales were approximately $4.665 billion, up about 4.84% from 1998's gross of $4.450 billion. Of this year's 49 weekends, 28 were up (one marginally and one because of a four-day vs. three-day holiday weekend comparison) and 21 were down (three only marginally and one because of a holiday vs. nonholiday comparison) vs. last year. STUDIO MARKET SHARES Based on business by key films, the top six distributors in Weekend 49 were the following: Buena Vista (Touchstone and Disney) was first with three films ("Toy Story 2," "The Insider" and "The Sixth Sense") grossing an estimated $30.67 million or 40.7% of the market. Universal was second with three films ("End Of Days," "The Bone Collector" and "The Best Man") grossing an estimated $13.45 million or 17.9% of the market. MGM was third with two films ("The World Is Not Enough" and "Flawless") grossing an estimated $11.55 million or 15.3% of the market. Paramount was fourth with two films ("Sleepy Hollow" and "Double Jeopardy") grossing an estimated $9.54 million or 12.7% of the market. Twentieth Century Fox was fifth with two films ("Anywhere But Here" and "Star Wars: Episode One -- The Phantom Menace") grossing an estimated $2.48 million or 3.3% of the market. Warner Bros. was sixth with one film ("Pokemon: The First Movie") grossing an estimated $2.21 million or 2.9% of the market. ADDITIONAL ESTIMATES (11) "Star Wars: Episode I - The Phantom Menace"/Fox: (see OTHER OPENINGS above) (reissue)
(12) "The Sixth Sense"/BV: Theaters: 1,034 (+17) Gross: $0.97 million (-37%) Average per theater: $937 Total: $273.6 million
(13) "Flawless"/MGM Theaters: 478 (0) Gross: $0.95 million (-40%) Average per theater: $1,995 Total: $3.4 million
(14) "American Beauty"/DreamWorks: Theaters: 694 (+109) Gross: $0.78 million (-33%) Average per theater: $1,130 Total: $67.6 million
(15) "The Best Man"/Universal: Theaters: 511 (+5) Gross: $0.59 million (-51%) Average per theater: $1,160 Total: $32.1 million
(16) "The Messenger"/Sony: Theaters: 977 (-995) Gross: $0.55 million (-54%) (tie) Average per theater: $563 Total: $13.7 million
(16) "The Bachelor"/New Line: Theaters: 1,044 (-289) Gross: $0.55 million (-52%) (tie) Average per theater: $527 Total: $20.6 million
(18) "Double Jeopardy"/Paramount: Theaters: 708 (-132) Gross: $0.54 million (-47%) Average per theater: $755 Total: $113.0 million
(19) "The House on Haunted Hill"/Warner Bros.: Theaters: 651 (-390) Gross: $0.37 million (-47%)(tie) Average per theater: $575 Total: $39.2 million
(19) "Music of the Heart"/Miramax: Theaters: 858 (+64) Gross: $0.37 million (-52%)(tie) Average per theater: $435 Total: $14.0 million
(21) "The Omega Code"/Providence: Theaters: 405 (+106) Gross: $0.30 million (-40%) Average per theater: $745 Total: $11.9 million
(22) Mansfield Park/Miramax: (see EXPANSIONS above)
(23) "The End of the Affair"/Columbia: (see OTHER OPENINGS above)
(24) "Sweet and Lowdown"/Sony Pictures Classics: (see OTHER OPENINGS above)
(25) "Liberty Heights"/Warner Bros.: Theaters: 6 (0) Gross: $0.068 million (-32%) Average per theatre: $11,333 Total: $0.4 million
(26) "Ride With the Devil"/USA Films: (see EXPANSIONS above)
(27) "Virtual Sexuality"/TriStar: (see OTHER OPENINGS above)
(28) "Holy Smoke!"/Miramax: (see OTHER OPENINGS above)
(29) "Tumbleweeds"/Fine Line: Theaters: 5 (0) Gross: $0.017 million (-59%) Average per theater: $3,344 Total: $0.077 million
(30) "Spanish Fly"/Lions Gate Films: (see OTHER OPENINGS above)
(31) "Agnes Browne"/USA Films: (see OTHER OPENINGS above)

'Twas the weekend before Christmas, and all through the movie house, all the kids were eager, to see the talking mouse.
As usual, movie attendance was soft during the final holiday shopping weekend of the year. The box office was dominated by two rodents: one of them the little talking mouse who stars in Columbia Pictures' G-rated "Stuart Little," the other, the ubiquitous Disney mouse, which had three films in the weekend's top five.
In its opening weekend, "Stuart Little," an adaptation of the popular, half-century-old book by E.B. White featuring the voice of Michael J. Fox as the titular creature, grossed an estimated $15.4 million in 2,878 theaters, and it had the highest per-theater average of any movie in wide release at $5,351. Although a $15 million gross won't set any records, studio officials are pleased that the film opened strong during the pre-Christmas weekend, which is typically slow, said Jeff Blake, Columbia president of worldwide distribution.
"Clearly, for a family film to open this well in the doldrums of the holiday season bodes very well," Blake said Sunday morning.
"No film that appeals to the whole family has opened this well and not done $100 million," he added, noting that other kid pics have had lower opening-weekend grosses and gone on to hit the $100 million mark, such as Columbia-TriStar's "Jumanji" (1995), which made just $11 million during its first weekend.
Blake added that "Stuart Little," with all of its ancillary merchandising -- it is currently the featured window display at New York's tony FAO Schwartz toy store -- should do even better once school lets out for Christmas vacation.
"Business from here on in figures to be great, so we're thrilled that we did get off to this kind of level. It shows that 'Stuart Little' has franchise potential, and $15.4 million is quite good, especially when you have to get ahead of 'Toy Story 2' to do it."
For the second weekend in a row, the No. 2 film at the box office was the decidedly nonchild-oriented "The Green Mile," the R-rated drama from Warner Bros. And Castle Rock Entertainment that stars Tom Hanks as a death row prison guard who befriends a condemned man gifted with healing powers, adapted from Stephen King's serial novels. "The Green Mile" pulled in $12.63 million on 2,875 screens in its second weekend of release, for an average of $4,383 per theater and a cumulative estimated gross of $36.5 million.
Movies from the Disney studios occupied the third, fourth and fifth ranks at the box office this weekend, not surprisingly led by "Toy Story 2." The G-rated animated feature, a co-production of Disney's Buena Vista Entertainment division and Pixar Animation, continued to perform strongly in its fifth week of release, grossing an estimated $12.1 million in 3,228 theaters for a per-screen average of $3,733.
"Toy Story 2" has now grossed an estimated $156.3 million to date. The picture, which features the voices of Tom Hanks, Tim Allen, Joan Cusack, Kelsey Grammer, Don Rickles, Jim Varney, Wallace Shawn, John Ratzenberger, Annie Potts, Wayne Knight, Laurie Metcalf, Estelle Harris and R. Lee Ermey, is expected to top out somewhere from $250 million to $275 million, an industry distribution executive said.
The original "Toy Story" grossed about $190 million in the United States and Canada in 1995 and about $360 million worldwide and sold more than 22 million videocassettes in the United States. If "Toy Story 2" hits $200 million before the end of the year, Buena Vista will become the first-ever distributor to have two $200 million-grossing films in the same calendar year ("The Sixth Sense" passed $200 million in September and has now grossed more than $275 million in 20 weeks of release).
The fourth-best grossing film of the weekend was "Deuce Bigalow: Male Gigolo," the R-rated comedy from Buena Vista/Touchstone that stars "Saturday Night Live" alumnus Rob Schneider as a bumbling male prostitute. The film apparently has stronger legs than may have been expected, grossing an estimated $8.3 million in 2,162 theaters, with a per-screen average of $3,843, a drop-off of about 32 percent. "Deuce" has now grossed about $24 million in two weeks.
Tied for fourth (although it had a lower per-screen average than "Deuce") was "Bicentennial Man," the new PG-rated sci-fi family fantasy produced by Disney's Buena Vista division and featuring Robin Williams and director Chris Columbus, the talents behind the hit comedy "Mrs. Doubtfire." "Bicentennial Man" played in 2,518 theaters during its opening weekend, grossing an estimated $8.3 million for a per-screen average of $3,302.
That's far less than "Patch Adams," another family oriented feature starring Williams, which opened in December 1998 and grossed $25.2 million during its first weekend, averaging more than $9,300 per screen.
"We're pretty excited to have third-, fourth- and fifth-best grossing films of the weekend. No other company has done that this year," said Chuck Viane, Buena Vista distribution president. "Obviously, this has set us up very well through the holidays.
"Every day between now and New Year's Day is a bigger grossing day, so obviously we're very happy."
Despite the soft opening for "Bicentennial Man," which reportedly cost about $100 million to make and features a futuristic story, high-tech special effects and Williams portraying a sympathetic robot that longs to become human, Viane said Disney is not worried.
"Not at all, I think it's a wonderful start," he said. "You've got to figure our core audience is a bit predisposed to the holiday shopping and all that. I think you'll see a building of momentum, and then the day after Christmas, watch out."
As for the lingering success of "Deuce Bigalow," Viane added: "It's the only picture out there for its core audience. They are not being distracted by any other competitive films. I think it's got a free ride through the whole holidays."
In its opening weekend, 20th Century Fox's "Anna and the King," starring Academy Award winner Jodie Foster and Hong Kong action star Chow Yun-Fat, placed sixth with $5.1 million in 2,134 theaters for a $2,390 per-screen average. That's comparable to the last Jodie Foster vehicle to open during the holidays, "Nell," which premiered in December 1994 and made $4.6 million during its opening weekend.
By comparison, "Contact," which opened in July 1997, made more than $20 million during its opening weekend and went on to gross more than $100 million total, and "Maverick," which opened in May 1994, made $17.2 million during its opening weekend and eventually grossed more than $101 million.
"It's a lot less than we expected. The whole business was slow this weekend, when the adults are finished shopping and when they start going back to the theaters next weekend, then we'll see what happens," Tom Sherak, 20th Century Fox Domestic Film Group chairman said on Sunday.
MGM's PG-13-rated "The World is Not Enough" dropped from fourth to seventh at the box office, earning an estimated $4 million at 2,625 theaters for an average of $1,524 per screen, a decline of about 35 percent compared with the previous week. The 19th James Bond feature, which stars Pierce Brosnan as Agent 007, has grossed a cumulative total of $105.3 million in its five weeks of release.
The No. 8 film at the box office was "Sleepy Hollow," the R-rated gothic retelling of the Headless Horseman saga from Paramount Pictures and director Tim ("Batman") Burton, which dropped from sixth place the previous weekend. "Hollow" grossed $3 million in 2,564 theaters for a per-screen average of $1,170, a drop-off of 36 percent. The $80 million movie has grossed an estimated $85.9 million since it was released five weeks ago.
Dropping from fifth to ninth was Universal's apocalyptic, millennium-themed R-rat d thriller "End of Days" starring Arnold Schwarzenegger and Gabriel Byrne and directed by Peter Hyams. "Days" pulled in $2.9 million in 2,460 theaters for a per-screen average of $1,179, a drop-off of 39 percent. The film, which cost anywhere from $80 million to $150 million according to contradicting published reports, has grossed an estimated $57.8 million in four weeks of release.
Rounding out the top 10 was "The Bone Collector," Universal's R-rated serial-killer thriller starring Denzel Washington and Angelina Jolie, which dropped from the No. 7 spot the previous weekend. "The Bone Collector," which has grossed about $62.4 million in the seven weeks since it was released, grossed an estimated $1 million at 1,115 theaters, for a per-screen average of $897, a drop-off of 41 percent.
OTHER OPENINGS
Weekend 51 also saw the arrival of New Line's "Magnolia," the new film by director Paul Thomas Anderson ("Boogie Nights," "Hard Eight") and starring an ensemble cast that includes Tom Cruise, Jason Robards, Julianne Moore and William H. Macy. The three-hours-plus movie opened in limited release in New York and Los Angeles for Academy Award consideration and pulled in $184,000 in seven theaters for a per-screen average of $26,286.
Also making its debut in limited fashion this week was USA Films' "Topsy-Turvy," a film by acclaimed director Mike Leigh ("Secrets and Lies") about the lives of writer-composer team Gilbert and Sullivan and starring Allan Corduner, Dexter Fletcher, Sukie Smith, Roger Heathcott and Wendy Nottingham. "Topsy-Turvy" grossed $29,891 at two theaters in New York and Los Angeles for a per-screen average of $14,946.
Box office returns were not immediately available for two other films that opened in Los Angeles for Oscar consideration: Samuel Goldywn Films' "Onegin," starring Ralph Fiennes, Liv Tyler and Martin Donovan and Fine Line Features' "Simpatico," starring Sharon Stone, Jeff Bridges, Nick Nolte, Catherine Keener and Albert Finney.
WEEKEND COMPARISONS
Overall, weekend 51's key films (those grossing about $500,000 and up) took in approximately $74 million, compared with about $71 million for the key film grosses of weekend 50, an increase of about 4 percent. Compared with the same weekend last year, when key films grossed about $71.3 million, this weekend's totals also represented an increase of 4 percent.
The top five films of weekend 51 in 1998 were Warner Bros.' "You've Got Mail" ($18.85 million in 2,691 theaters, $6,848 per theater), DreamWorks' "The Prince of Egypt" ($14.5 million in 3,118 theaters, $4,658 per theater), Disney/Buena Vista's "A Bug's Life" ($10 million in 2,773 theaters, $3,602 per theater), Paramount's "Star Trek: Insurrection" ($8.3 million in 2,649 theaters, $3,137 per theater) and Warner Bros.' "Jack Frost" ($5.1 million in 2,152 theaters, $2,373 per theater).
STUDIO MARKET SHARES
Based on business by key films, the top distributors in weekend 51 were the following:
Buena Vista was first with four films ("Toy Story 2," "Deuce Bigalow: Male Gigolo," Bicentennial Man" and "The Sixth Sense") grossing a combined $29.1 million or 39 percent of the market.
Sony was second with one film ("Stuart Little") grossing $15.4 million or about 21 percent of the market.
Warner Bros. was third with one film ("The Green Mile") grossing $12.6 million or 17 percent of the market.
Twentieth Century Fox was fourth with one film ("Anna and the King") grossing $5.1 million or 7 percent of the market.
MGM was fifth with one film ("The World is Not Enough") grossing $4 million or 5.4 percent of the market.
Universal was sixth with two films ("End of Days," "The Bone Collector") grossing a combined $3.9 million or 5.3 percent of the market.
Paramount was seventh with one film ("Sleepy Hollow") grossing $3 million or 4 percent of the market.
USA Films, with one film ("Being John Malkovich") grossing $730,000, and Lion's Gate, with one film ("Dogma") grossing $625,000, each had less than 1 percent of the market.

Hollywood got through the first weekend of the new year in slightly better shape than studio insiders expected.
It took just $11.5 million to put Columbia's "Stuart Little" in first place, making it the weekend's only Top Five film to crack double digits. Lackluster tracking scores last week had suggested that the new year might kick off with none of the Top Five films doing better than single-digit grosses.
Columbia's PG-rated family comedy held on to the top spot in its fourth week, still laughing with an estimated $11.5 million (-28%) at 2,979 theaters (+79 theaters, $3,806 per theater). Its total is approximately $95.6 million. Directed by Rob Minkoff, "Stuart Little" stars Geena Davis, Hugh Laurie and Jonathan Lipnicki.
"It'll hit $100 million either Friday or Saturday of next week," Sony Pictures Releasing President Jeff Blake said Sunday morning. "With the holiday week, we won't do far from this figure for the four days. And there are no other kids' pictures coming in until Feb. 11 (Buena Vista/Disney's animated "The Tigger Movie").
"The hard part is getting them (family films) going. Once a picture like this starts rolling, it adds up pretty quick if everything goes well. We're thrilled. We're thinking (it will get to about) $130 million, at this point in time, somewhere in that range."
"Stuart Little" stands to turn into a franchise for Sony. "I know they're working hard at 'Stuart Little II.' And I think that's effort well spent," Blake said.
Paramount's R-rated drama "The Talented Mr. Ripley" moved up one notch to No. 2 in its third week of release with a respectable estimated $9.8 million (-21%) at 2,316 theaters (+7 theaters, $4,231 per theater). (Earlier estimates last week placed it at No. 5, then No. 2 and finally at No. 3.) Its total is approximately $54.6 million. Written and directed by Anthony Minghella ("The English Patient"), it stars Matt Damon, Gwyneth Paltrow, Jude Law and Cate Blanchett.
"Ripley" appears to be a prime candidate for Oscar nominations, having received five Golden Globe nominations -- best picture/drama, best actor/drama (Damon), best supporting actor ( Law), best director (Minghella) and best score (Gabriel Yared).
"I think this one really depends on the (Oscar) nominations," Paramount Distribution President Wayne Lewellen said Sunday morning. "I've got it at $80-90 million. But if we get (Oscar nominations for) Best Picture, Director and, maybe, one of the actors and, of course, if we win something, it could get to $100 million (or more).
"With a picture like this, it can be very helpful."
Asked who the audience for "Ripley" is, Lewellen replied, "It's older females, primarily, but obviously they bring the men with them. It's more female than male.
"But it's playing pretty well across the board."
Warner Bros. and Castle Rock Entertainment's R-rated prison death row drama "The Green Mile" was a close third in its fifth week, up one notch with an estimated $9.7 million (-17%) at 2,678 theaters (-197 theaters; $3,622 per theater). Its total is approximately $91.3 million.
Written and directed by Frank Darabont ("The Shawshank Redemption", it stars Tom Hanks and Michael Clarke Duncan. Where will "Mile" get to in domestic theaters? "Probably $130 million," Warner Bros. Distribution President Dan Fellman said Sunday morning.
Warner Bros.' R-rated drama "Any Given Sunday" rose one peg to fourth place in its third week with an estimated $9.02 million (-23%) at 2,505 theaters (theater count unchanged, $3,599 per theater). Its total is approximately $59.5 million. Directed by Oliver Stone, it stars Al Pacino, Dennis Quaid, Jamie Foxx and Cameron Diaz.
Where is "Sunday" heading in domestic theaters?
"It just is going to depend on the next few weeks -- somewhere between $80-100 million," Warners' Fellman said.
Rounding out the Top Five was DreamWorks' PG-rated sci-fi fantasy comedy "Galaxy Quest," up one peg in its third week with a surprisingly strong estimated $8.3 million (-14%) at 2,450 theaters (+8 theaters; $3,388 per theater). Its total is approximately $38.8 million, heading for $60 million to $70 million in domestic theaters. Directed by Dean Parisot, it stars Tim Allen, Sigourney Weaver and Alan Rickman.
Buena Vista/Disney and Pixar's animated blockbuster "Toy Story 2" finished sixth in its eighth week with a still jolly estimated $7.5 million (-39%) at 2,752 theaters (-350 theatres, $2,733 per theater). Its total is approximately $220.1 million, heading for a domestic theatrical total of $260 million to $270 million. Directed by John Lasseter, it features the voices of Tom Hanks, Tim Allen, Joan Cusack, Kelsey Grammer, Don Rickles, Jim Varney, Wallace Shawn, John Ratzenberger, Annie Potts, Wayne Knight, Laurie Metcalf, Estelle Harris and R. Lee Ermey.
"It is now the second-highest-grossing animated film in our history (after 'The Lion King')," Buena Vista Distribution President Chuck Viane said Sunday morning. "And it's the third-highest-grossing picture we ever released -- behind 'Lion King' and 'Sixth Sense.'"
Looking ahead, Viane said, "Based on this, we'll probably be at $228-$230 million by the time we come out of the Martin Luther King weekend. And then it'll just go and go until it's over."
New Line's R-rated drama "Magnolia" went wide in its fourth week, placing seventh with a promising estimated $6.57 million at 1,034 theaters (+1,025 theatres, $6,359 per theater). Its total is approximately $7.5 million.
"Magnolia's" per-theater average was the highest for any film playing in wide release. Directed by Paul Thomas Anderson, its ensemble cast is headed by Tom Cruise, William H. Macy, Jason Robards and Julianne Moore.
"Magnolia" received two Golden Globe nominations, including best supporting actor (Cruise) and original song ("Save Me," music and lyrics by Aimee Mann).
"We're happy," New Line Executive Vice President, Distribution, David Tuckerman said Sunday morning. "Some people are going to have us (estimated) lower. The difference is the last three weeks -- our second Sunday was bigger than the Saturday that weekend, and the Sunday the first weekend was 90% of the Saturday, and the Sunday the third weekend was over 90% of the Saturday.
"So everybody's figuring us at like sixtysome percent. Sunday should be almost what Saturday is (for this film)."
Like other three-hour films, "Magnolia" tends to do well on Sundays because people have the time available that day to see something that long.
"You have to make a commitment to see a three-hour movie," Tuckerman said.
Who is the audience for "Magnolia"?
"I sat last night and watched it in Santa Monica," Tuckerman said. "You're basically getting the mid-20s and above. Both (males and females). We didn't do exit polls the first three weeks because we figured we got (Anderson's) fans. We're doing them tonight, so we'll be smarter (Monday)."
Asked if people like the film, Tuckerman said, "They come out stunned. Half of them love it, and half of them hate it. And then they talk about it the next day. The ones that hated it talk about it -- and you can tell they've changed (their opinion)."
Will New Line go wider with the film?
"I think we're going to wait to see what next weekend brings," he said. "I have to tell you, every market that this picture opened in, there's huge pockets of strength. The 'white bread' towns didn't work as well. But within those markets (there is strength). Seattle didn't look good, then one of the best runs in the country came out of Seattle. It's really strange. In Canada, they love it."
Buena Vista/Touchstone's "Bicentennial Man" was eighth in its fourth week with a quiet estimated $5.2 million (-37%) at 2,612 theaters (-155 theate s, $1,992 per theater). Its total is approximately $47.1 million. Directed by Chris Columbus, it stars Robin Williams.
Buena Vista/Touchstone's R-rated youth-appeal comedy "Deuce Bigalow: Male Gigolo" was ninth in its fifth week with a less funny estimated $5 million (-13%) at 2,066 theaters (-96 theaters, $2,403 per theater). Its total is approximately $54 million. Directed by Mike Mitchell, it stars Rob Schneider.
"I have hesitated to say this, but I think now it's probably a $70 million picture," BV's Viane said. "The one picture we would like to emulate is 'Ace Ventura,' which did $72 million. The minute we hit $60 million (after Martin Luther King weekend), that's the number we'll be chasing."
Rounding out the Top 10 was Universal's PG-13-rated drama "Snow Falling On Cedars," which went wide in its third week with an unexciting estimated $4.01 million at 1,150 theaters (+1,147 theaters, $3,490 per theater). Its total is approximately $4.2 million. Directed by Scott Hicks ("Shine"), it stars Ethan Hawke, James Cromwell, Richard Jenkins, Youki Kudoh, James Rebhorn, Sam Shepard, Rick Yune and Max von Sydow.
OTHER OPENINGS
Last weekend saw no new arrivals in wide or high-profile platform release.
SNEAK PREVIEWS
Last weekend saw no national sneak previews.
EXPANSIONS
On the expansion front, last weekend saw Miramax's PG-13-rated drama "The Cider House Rules" go wider in its fifth week, placing 13th with an OK ESTIMATED $3.28 million at 816 theaters (+484 theaters, $4,013 per theater). Its total is approximately $8.4 million. Directed by Lasse Hallstrom, it stars Tobey Maguire, Charlize Theron, Paul Rudd and Michael Caine.
"With the addition of 484 screens this weekend, we only dropped 14% on a per-screen basis," Miramax Senior Vice President, Marketing, David Kaminow said Sunday morning. "We were hoping for $3,000 a screen this weekend, and the fact that we did $4,000 is great. Even more encouraging are theaters that are in their third, fourth and fifth week, dwelling on this. It's taken a little time for the movie to get its legs, but (that's what we're seeing now)."
Kaminow pointed to a number of examples, including, "in New York, the Angelika, in its fifth week, is up 73%. In L.A., in Century City, we're up 136% in Week 5. The Sunset Five (in West Hollywood) is up 53% in Week 5. The Lido in Newport Beach is up 30% in Week 5. In Pasadena, the Playhouse is up 16% in Week 3.
"This is what's going on around the country. The movie's really taking hold and receiving great word of mouth."
Universal's R-rated drama "The Hurricane" expanded in its second week, placing 14th with an encouraging estimated $2.45 million at 159 theaters (+148 theaters, $15,405 per theater). Its total is approximately $3.1 million. Directed by Norman Jewison, it stars Denzel Washington as wrongly imprisoned boxing champion Rubin "Hurricane" Carter.
"Hurricane," which is generating Oscar buzz, received three Golden Globe nominations -- best picture, best actor/drama (Washington) and best director (Jewison).
Columbia's R-rated drama "The End of the Affair" expanded in its sixth week, placing 18th with an unromantic estimated $0.65 million at 92 theaters (+34 theaters, $7,065 per theater). Its total is approximately $2.4 million. Directed by Neil Jordan, it stars Ralph Fiennes, Julianne Moore and Stephen Rea.
"We're intending to go wide to about 700 or so theaters on Jan. 21," Sony's Jeff Blake said Sunday. "We're certainly performing (as) one of the better limiteds consistently, so hopefully we'll be ready to go on Golden Globe weekend."
WEEKEND COMPARISONS
Key films -- those grossing more than $500,000 for the weekend - took in approximately $93.79 million last weekend, up approximately 11.04% from $84.46 million for the comparable weekend last year.
Last weekend's key film gross was down approximately 15.4% from the $108.31 million that key films took in during the prior weekend.
Last year, Buena Vista's third week of "A Civil Action" was first with $15.16 million at 1,802 theaters ($8,415 per theater); and Universal's third weekend of "Patch Adams" was second with $12.69 million at 2,770 theaters, $4,580 per theater). The top two films one year ago grossed $27.9 million. This year, the top two films grossed an estimated $21.3 million.
STUDIO MARKET SHARES
Based on business by key films, last weekend's top six distributors were the following:
Warner Bros. was first with two films ("The Green Mile" and "Any Given Sunday") grossing an estimated $18.72 million or 20% of the market.
Buena Vista (Touchstone and Disney) was second with three films ("Toy Story 2," "Deuce Bigalow: Male Gigolo" and "Bicentennial Man") grossing an estimated $17.7 million or 18.9% of the market.
Sony Pictures Entertainment (Columbia, TriStar) was third with two films ("Stuart Little" and "The End Of the Affair") grossing an estimated $12.15 million or 13% of the market.
Paramount was fourth with two films ("The Talented Mr. Ripley" and "Sleepy Hollow") grossing an estimated $10.95 million or 11.7% of the market.
Universal was fifth with four films ("Snow Falling On Cedars," "The Hurricane," "End Of Days" and "Man On the Moon") grossing an estimated $10.83 million or 11.5% of the market.
DreamWorks was sixth with one film ("Galaxy Quest") grossing an estimated $8.3 million or 8.8% of the market.
ADDITIONAL ESTIMATES
(11) "Anna and the King"/Fox: Theaters: 2,004 (-125) Gross: $3.55 million (-35%) Average per theater: $1,771 Total: $30.9 million
(12) "Man On the Moon"/Universal: Theaters: 2,065 (-14) Gross: $3.5 million (-35%) Average per theater: $1,695 Total: $30.4 million
(13) "The Cider House Rules"/Miramax: (see EXPANSIONS above)
(14) "Hurricane"/Universal: (see EXPANSIONS above)
(15) "The World Is Not Enough"/MGM: Theaters: 1,317 (-395) Gross: $1.76 million (-39%) Average per theater: $1,335 Total: $120.8 million
(16) "Sleepy Hollow"/Paramount: Theaters: 1,070 (-422) Gross: $1.15 million (-26%) Average per theater: $1,075 Total: $94.8 million
(17) "End of Days"/Universal: Theaters: 813 (-250) Gross: $0.87 million (-32%) Average per theater: $1,065 Total: $64.6 million
(18) "The End of the Affair"/Columbia: (see EXPANSIONS above)
(19) "Being John Malkovich"/USA Films: Theaters: 235 (-14) Gross: $0.47 million (-1%) Average per theater: $1,000 Total: $19 million
(20) "Mansfield Park"/Miramax: Theaters: 139 (-9) Gross: $0.37 million (-12%) Average per theater: $2,660 Total: $3.1 million
(21) "Liberty Heights"/Warner Bros.: Theaters: 109 (-6) Gross: $0.28 million (-34%) Average per theater: $2,570 Total: $2.7 million
(22) "The Bone Collector"/Universal: Theaters: 427 (0) Gross: $0.20 million (-45%) Average per theater: $460 Total: $64.1 million
(23) "Cradle Will Rock"/BV: Theaters: 38 (0) Gross: $0.17 million (-15%) Average per theater: $4,429 Total: $1.0 million
(24) "Girl, Interrupted"/Columbia: Theatres: 9 (0) Gross: $0.15 million (+21%) Average per theater: $16,206 Total: $0.7 million
(25) "Tumbleweeds"/Fine Line: Theaters: 156 (-151) Gross: $0.10 million (-59%) Average per theater: $640 Total: $1.2 million
(26) "The Best Man"/Universal: Theaters: 144 (-9) Gross: $0.087 million (-45%) Average per theater: $605 Total: $33.7 million
(27) "Angela's Ashes"/Paramount: Theatres: 6 (0) Gross: $0.060 million (-3%) Average per theater: $9,996 Total: $0.3 million
(28) "Titus"/Fox Searchlight: Theatres: 4 (+2) Gross: $0.040 million Average per theater: $10,003 Total: $0.2 million
(29) "Topsy-Turvy"/USA Films: Theaters: 1 (0) Gross: $0.036 million (+35%) Average per theater: $36,004 Total: $0.2 million
(30) "Play It To the Bone"/B V: Theaters: 1 (0) Gross: $0.004 million (-5%) Average per theater: $3,709 Total: $17,000

Worked for a time at the Community Theater of Santa Fe, NM where she was involved in costume and set design while recuperating from her injuries

Undertook another TV series. the Lifetime original drama "Any Day Now"; played Mary Elizabeth Sims, a Southern woman who reconnects with her childhood friend, a black woman now a high-powered attorney

Delivered memorable supporting turn as the secretary to the "Ghostbusters"

Grew up in Franklin, KY; Nashville, where she was born, was the location of the nearest hospital

Was struck by an automobile whose driver was drunk; suffered two broken legs and was left with traumatic arthritis

TV-movie debut, "Black Market Baby" (ABC)

Co-starred on ABC comedy-drama series "GCB"

Summary

Annie Potts' unique voice and quirky personality made her a natural fit for roles that called for colorful, experienced, definitely quirky women. Potts first burst onto the scene as the sassy, quick-witted secretary in the international phenomenon "Ghostbusters" (1984). It was a role that she would reprise in the successful 1989 sequel and a later video game. Potts possessed a natural gift for playing slightly off-the-wall characters with big hearts; similar to the surrogate mother roles she essayed in the John Hughes Gen-X classic "Pretty in Pink" (1986) opposite Molly Ringwald, and on the critically acclaimed television version of the feature film "Dangerous Minds" (ABC, 1996-97). But it was her turn as a sarcastic yet struggling interior designer on the Southern-flavored sitcom "Designing Women" (CBS, 1986-1993) that made Potts a household name. The actress endured numerous career setbacks throughout her run, whether canceled TV pilots or short-lived sitcoms, but she was always exceedingly employable because there were very few comic actresses able to steal scenes in such a unique fashion. Simply put, if she had done nothing else but "Designing Women," her immortality would have been assured, but luckily she brought to life memorable comedic performances in a series of film classics as well.

Education

Name

Stephens College

California Institute of the Arts

Notes

Referring to Potts's first appearance upon joining the cast of "Love and War" in its second season, Eric Mink of the Daily News (Sept. 20, 1993) wrote: "But then, something miraculous happens: Annie Potts, playing a new character, Dana Palladino, walks through the restaurant's door, and the show is transformed. Potts might as well be brandishing thunderbolts. She walks on the set, and the place becomes electric. Snappy dialogue fills the air. Confrontations between Palladino and Stein (Jay Thomas) crackle with smart, sassy energy. And Potts infuses the show with the kind of sexual tension that writer-producer Diane English has always talked about but had not been able to deliver."

"When people ask me about 'Designing Women' now, I feel how James Taylor must feel when he has to play 'Fire and Rain' again. To tell the truth, I've moved on." – Potts to Entertainment Weekly, Sept. 3, 1999